"I'm a Businessman. Blood Is a Big Expense.": Godfather Analysis Part VIII

Go to Part VII: "And don't lose that famous temper of yours, huh, Sonny?"

The scene in which Sollozzo presents his proposition to Tom takes place in what appears to be an abandoned ‘railroad car’ diner – a long, narrow freestanding building. The only lighting in the scene is a source light, a small lantern on the table near Tom and Sollozzo. There are two close shots on Tom and Sollozzo, only their faces lit, everything else very dark before the cut showing us the room and the light. The shot is almost completely black. We can see the outlines of the characters in the far background and a silhouette of a guard in the foreground, but there is not enough light to give much indication as to where they are. For the Corleone family this is the low point of the film. Luca Brasi has been killed, the Don is near death, Tom has been taken and Sollozzo is about to put the screws to the family. The darkness of this scene is a reflection of that despair.

"And Don't Lose That Famous Temper of Yours, huh, Sonny?": Godfather Analysis Part VII

Go to Part VI: "If I wanted to kill you, you'd be dead already."

After the violent events of the previous sequence we go first to an establishing shot of the exterior of Radio City Music Hall and then to Michael and Kay coming out from a show. This is another example of how Michael is separate from the business dealings of his family. Immediately after his father is gunned down, there is a cut to some time later (the sun was still out when Vito was shot and here it is night). Their conversation is completely inconsequential until Kay notices the newspapers proclaiming the shooting of Vito Corleone. After Michael rushes across the street to the phone booth to call Sonny, he closes the phone booth door, leaving Kay standing outside. This is shot deliberately to illustrate how Kay is left on the outside. It is the first of many times Michael will close Kay out of his dealings, not only in this film, but continuing into The Godfather Part II as well. Later he will leave her in the hotel when he goes to the hospital to visit his father. When he returns from Sicily and finds Kay he won’t tell her anything about his business other than that he intends to be legitimate in five years’ time. Finally, the closing shot of the film will be the door shutting Kay out of Michael’s office. Michael enters the booth, Kay remains outside. There is a cut to a close up of Kay looking in before the cut to the interior of the phone booth. The conversation Michael has with Sonny lasts 26 seconds and Kay is visible outside the phone booth the whole time, an outsider looking in.

"If I Wanted to Kill You, You'd Be Dead Already": Godfather Analysis Part VI

Go to Part V: "Never tell anybody outside the family what you're thinking again."

I have argued that Pulp Fiction, despite what most people believe, is not actually a very violent film. I stick strongly to that belief. I don’t want to say the same thing about The Godfather because I believe it is rife with violence, but it is worth noting that the first violent scene (the garroting of Luca Brasi) comes 42 minutes into the film. This suggests that violence exists in the film only when necessary. It places the focus on family (the subject of the opening wedding celebration), on loyalty (the subject of the meetings Don Corleone has, as well as the help he provides Johnny Fontane), and it is about business (the subject of the meeting with Virgil Sollozzo).

"Never Tell Anybody Outside the Family What You're Thinking Again": Godfather Analysis Part V

Go to Part IV: "He never asks a second favor when he's been refused the first."

Now that we’ve been introduced to all the major characters in the film, gotten a sense of their personality traits and seen the power of Don Corleone’s persuasion, it’s time (only 33 minutes into the film) to put the plot in motion and meet the villain. This section opens with Corleone sitting down with Tom and Sonny to begin discussing the possibility of becoming partners with Virgil Sollozzo. Vito asks Tom if he’s too tired and Tom remarks that it’s okay because he slept on the plane. This seemingly banal piece of dialogue does a few things: gives us a time reference so we know this is immediately after Tom’s trip to California; indicates Tom’s professionalism in his loyalty and service to the Don; and shows that the Don wants to get things moving quickly and be well-prepared.

"He Never Asks a Second Favor When He's Been Refused the First": Godfather Analysis Part IV

Go to Part III: "I'm gonna make him an offer he can't refuse."

The next section opens with some stock footage establishing shots of Hollywood and then a few long range shots of Tom making his way around the studio back lot until he finds the soundstage where Jack Woltz is. We know from the last conversation in Don Corleone’s office that Tom was meant to go to California that night. These establishing shots remind us of that conversation and the problem that Johnny is having with getting a part in a new war film.

"I'm Gonna Make Him an Offer He Can't Refuse.": Godfather Analysis Part III

Go to Part II: "No Sicilian can refuse any request on his daughter's wedding day."

The family portrait now includes Michael and Kay.

Now Johnny Fontane arrives to the great joy and surprise of Vito, who proclaims that he came “all the way from California.” Tom, being realistic and perhaps a little jealous, points out, “it’s been two years. He’s probably in trouble again.” Of course, Tom turns out to be right as he’s come to ask a favor of the Don.

"No Sicilian Can Refuse Any Request on His Daughter's Wedding Day.": Godfather Analysis Part II

Go to Part I: "I believe in America."

After the dark interior opening, the film cuts to a sunny exterior shot of the wedding celebration with music playing and people dancing. This virtuoso opening sequence brilliantly introduces us not only to most of the important characters in the film, but also to some of the key plot points, although we don’t know it yet. The opening sequence in Corleone’s office has an average shot length of just under 27 seconds. The remainder of the wedding sequence averages just under 8 seconds per shot – an indication that the sequence moves quickly, cutting between exterior and interior scenes, revealing all the characters and some of their personality traits that will figure prominently later.

"I Believe in America": Godfather Analysis Part I

Go to introduction.

That is the line that opens the film over a black frame before a fade in on a close-up of Bonasera. That line sets the tone for the rest of the film and possibly the entire trilogy. In many ways, the film is a celebration of the idea of America and the American dream: an immigrant family settles in New York and builds itself up from having nothing to having everything. America, the land of opportunity, has been very good to the Corleone family.

The Godfather Film Analysis: Introduction

This is the first introduction to a complete film analysis of The Godfather from 1972. It is still a work in progress and I hope to get it completed with all parts posted by the end of November. This is not meant as a full academic study, but the beginnings of exploring how sequencing, lighting, shot composition and music contribute to cinematic storytelling in great movies.

Unfortunately I am too young to have had the opportunity to see The Godfather when it first opened in 1972. I can recall seeing it in bits and pieces throughout my childhood on television, cable and probably on video. Certain images resonated and stuck in my mind: the garroting of Carlo and his kicking out the windshield; Sonny’s violent death at the tollbooth; Sonny’s beating of Carlo on the street; Jack Woltz waking to find himself covered in blood and the head of his prized racehorse under the sheets; Michael’s killing of McCluskey and Sollozzo; the final montage of the baptism inter-cut with the killings of the heads of the five families. It is certainly no coincidence that the most violent scenes are what stayed with me all my life. I never had any awareness of the plot of the film until I watched the film in its entirety sometime when I was a teenager.

"Jules, You Give that Fuckin' Nimrod $1500, I'll Shoot Him on General Principle.": Pulp Fiction Analysis Part XXIV and Conclusion

Go to Part XXIII: "I had what alcoholics refer to as a 'moment of clarity.'

The Tarantino "Mexican Standoff"

Vincent gets up to go to the bathroom (remember he was visible over Honey-Bunny’s shoulder in the prologue) and a few seconds later the robbery starts. This time, Honey-Bunny’s line is “Any of you fuckin’ pricks move and I’ll execute every one of you motherfuckers.” It is slightly different from the “I’ll execute every motherfucking last one of you” she said the first time. This is another bit in the film often cited as a continuity error. Again, it doesn’t make sense that this is a mistake. Why would Tarantino have recorded the line of dialogue twice with different words each time? He also shoots the second half of the line from a different angle than in the prologue. This is another example of Tarantino having a little fun with his audience and suggesting that different perspectives and perceptions of the same event will produce different versions of the truth.

Honey Bunny is shot from a side angle as opposed to the front angle of the first scene in the film, suggesting the dialogue line change is related to differing perspectives.

"I Had What Alcoholics Refer to as a 'Moment of Clarity.'": Pulp Fiction Analysis Part XXIII

Go to Part XXII: "I'm Winston Wolf. I solve problems."

Establishing two-shot of Jules and Vincent at breakfast.

Cut to the Hawthorne Grill where Jules and Vincent sit eating breakfast. We join them mid-conversation as they talk about The Wolf and how cool he was. Then they proceed to the famous “pigs are filthy animals” conversation. The two are shot in the same frame together until they begin talking about the possible miracle they witnessed in the morning. Now they are shot singly in profile, emphasizing their disagreement. Vincent reiterates his position that what they saw was a freak occurrence and Jules can’t agree.

"I'm Winston Wolf. I Solve Problems.": Pulp Fiction Analysis Part XXII

Go to Part XXI: "Oh man, I shot Marvin in the face."

Jimmie is upset at the possibility that his wife will come home soon from her graveyard shift at the hospital to find a dead body in the garage. So the clock is ticking on these guys to get their mess cleaned up fast. Jules talks to Marsellus who lets him know he’s sending The Wolf (Harvey Keitel). Jules already knows Wolf by reputation.

JULES: You sendin’ The Wolf?

MARSELLUS: Don’t you feel better, motherfucker?

JULES: Shit, negro. That’s all you had to say.

Then we see The Wolf on the phone. Again (like Marsellus early in the film), we have a character whose face we don’t see right away, thus adding to the mystery surrounding the character. The Wolf is in a tuxedo at some kind of cocktail party early in the morning. In the background you can hear a dealer talking about laying down bets. More than likely this was some kind of all night gambling party.

"Oh Man, I Shot Marvin in the Face.": Pulp Fiction Analysis Part XXI

Go to Part XX: "We should be fuckin' dead right now."

Driving along, Vincent and Jules disagree over the significance of all six bullets missing them. Jules sees it as a sign that God is sending him a message. As such, he has decided to quit working for Marsellus. Vincent sees it as nothing more than a freak occurrence. Turning around to ask Marvin what he thinks of it all, Vincent has the gun in his hand casually pointed in Marvin’s direction. This is another moment from the first time I saw this film that I will never forget. I remember noticing the gun was there and that something was going to happen. But I never could have guessed that Vincent’s gun would fire, blowing Marvin’s head to pieces all over the inside of the car. I still laugh hysterically every time and I’m certain that’s the reaction Tarantino wanted out of this scene.

The prominent positioning of the gun in the foreground foreshadows the tragic accident that is about to happen.

Jules calls his “partner,” Jimmie (Quentin Tarantino). Although it’s not entirely clear how Jules and Jimmie know each other, the “partner” reference seems to indicate that Jimmie used to work for Marsellus. He probably stopped when he married Bonnie.

Go to Part XXII: "I'm Winston Wolf. I solve problems."

"We Should Be Fuckin' Dead Right Now." Pulp Fiction Analysis Part XX

Go to Part XIX: "Zed's dead, baby. Zed's dead."

We hear Jules’ voice yelling at Brett from early in the film. Tarantino has taken us back to where we left off. This time we’re looking at a fourth man in Brett’s apartment. He’s listening to what’s going on while holding a gun. In the middle of the Ezekiel speech we cut to Jules and we witness the murder of Brett. Then the fourth man barges out of the bathroom and opens fire on Jules and Vincent, not hitting them at all. Then, after a moment’s hesitation, they shoot the fourth man dead just as quickly as he appeared.

Notice, however, that before the fourth man opens fire on them, the bullet holes in the wall are visible. This is often cited as a continuity error. I’ve always maintained that this is very unlikely. Tarantino is a careful enough filmmaker not to make such a glaring error. Wouldn’t the art department put the holes in the wall only after they had finished shooting the sequence prior to the gunfire? This leads me to believe that there must be some reason behind the holes already being there. Perhaps it’s an indication that there was no miracle at all. The holes were there from the beginning and the fourth man didn’t actually have live ammunition in his gun. But remember I noted early in the film when we see this scene the first time, the holes are not there. What does that mean? Your guess is probably as good as mine. I would say that Tarantino is having a little fun with his audience and also suggesting something about differing perceptions of the same event. This may also explain why the first time we see this scene, Jules’ gun is emptied, but the second time around he still has bullets to shoot the fourth man. But I’m much more willing to write that off as a simple continuity error.

In this shot just before the fourth man comes out of the bathroom firing on Jules and Vincent, the bullet holes are already visible on the wall behind them.

Go to Part XXI: "Oh man, I shot Marvin in the face."

"Zed's Dead, Baby. Zed's Dead": Pulp Fiction Analysis Part XIX

Go to Part XVIII: "I'm gonna get medieval on your ass!"

Butch arrives back at the motel to retrieve Fabienne. As he tries to rush her out she is reasonably concerned about why Butch is covered in blood, whether or not they are in danger and where he got the motorcycle (“It’s a chopper, baby.”) The more he tries to rush her, the more upset she becomes and breaks down crying. Now again, he has to sweet-talk her down so they can be on their way. It’s a scene played for great comic effect after the horrific show we witnessed during the last ten minutes. Butch and Fabienne ride off down the street on the chopper. This moment is the last scene in the film’s narrative.

Title card: “The Bonnie Situation.”

Go to Part XX: "We should be fuckin' dead right now."

"I'm Gonna Get Medieval on Your Ass!" Pulp Fiction Analysis Part XVIII

Go to Part XVII: "Bring out the gimp."

Butch is just looking for an excuse to run Zed through with the samurai sword.

Butch grabs Zed’s keys and makes for the front door, but stops before leaving. As he listens to Marsellus’s moans from downstairs, the camera pushes in, showing Butch wrestling with his conscience. He can’t simply leave that man down there to be tortured. So he looks for a weapon. The progression of weapons here is symbolic and also rather amusing. Butch is going to decide what kind of hero he wants to be. First he picks up a hammer to be a regular guy grabbing the first weapon he sees. Then he finds a baseball bat, recalling Joe Don Baker in Walking Tall[i]. Next it’s The Texas Chainsaw Massacre[ii] and Leatherface’s chainsaw. Then cut to a high angle shot looking down on Butch as he sees his weapon of choice hanging on the wall. It is a samurai sword, the weapon of a true heroic warrior. A samurai is the kind of hero that has honor and will fight to the death to defend the less fortunate. Tarantino loves the “honor among thieves” theme that plays out in old samurai films and nowhere is this more apparent than here. Because of his experience killing Vincent earlier, Butch knows he can descend into the awaiting hell to kill again. For him, this is going into battle.

"Bring Out the Gimp": Pulp Fiction Analysis Part XVII

Go to Part XVI: "You feel that sting, big boy?"

Fade-in on Butch and Marsellus, tied to chairs and gagged with a red ball attached to a strap around their heads. Zed arrives and sits down simply observing the two men. At this point the audience has no idea what’s to come. Zed tells Maynard to “bring out the gimp.” Maynard goes into the room behind Butch and Marsellus and we see him out of focus in the background opening a cage on the floor. Out comes a man dressed head-to-toe in leather, with chains on his limbs.

Maynard remains out of focus in the background as he begins to open the box on the floor where the sleeping Gimp lies.

When Maynard wakes up the Gimp the focus shifts from Butch and Marsellus to him.

Using the process of “Eeny Meeny Miny Moe,” Zed decides to “do” Marsellus first. He drags Marsellus into the back room, leaving the Gimp tied up to guard Butch. Maynard enters the room in slow motion, providing an exaggeration when the door slams shut at full speed. While we hear some kind of torture going on in the back room, Butch manages to get free, punch the Gimp leaving him to strangle on his chains and runs upstairs.

Go to Part XVIII: "I'm gonna get medieval on your ass!"

"You Feel That Sting, Big Boy?": Pulp Fiction Analysis Part XVI

Go to Part XV: "That's how you're gonna beat 'em, Butch. They keep underestimatin' ya."

In an homage to Psycho, Marsellus stops and slowly turns to get a look at Butch in the car.

As Butch pulls up to the intersection, Marsellus crosses in front of the car, stops and, in a direct homage to Psycho[1], turns to see Butch. This is the first time we see Marsellus’s face. We are about to see Marsellus as a character in action as opposed to Marsellus the Myth that we’ve heard about. Butch floors it, running down Marsellus, but then crashes his car. After Marsellus regains consciousness he draws his gun and chases after Butch. Tarantino uses the handheld camera as he follows the chase down the street. Both of them stumble their way into a pawn shop owned by a hillbilly redneck from hell.

Maynard, the owner of the pawn shop, knocks Butch out cold with a shotgun and then telephones Zed. What follows is the “war” that Butch will have to go through to retrieve his watch. Finally, he will have a story to tell his son one day when he passes that gold watch down the line.

Go to Part XVII: "Bring out the gimp."

---

[1] Dir. Alfred Hitchcock, 1960 (Universal) – the reference is to an early scene when Marion Crane is on her way out of town with $40000 in cash stolen from her boss’s client. As she waits at an intersection her boss crosses, stops, and looks directly at Marion.

"That's How You're Gonna Beat 'em, Butch. They Keep Understimatin' Ya.": Pulp Fiction Analysis Part XV

Go to Part XIV: "Where's my watch?"

Butch has to go back to his apartment where it is very likely he will run into Marsellus’s men waiting to kill him. Why does Butch risk his life for the watch? Because he recognizes that the last three generations of men in his family made certain that the watch survived the war. Butch is part of the first generation of men in the 20^th century that was not defined by a major war. Butch has a war with Marsellus, though, and it will become so much more gruesome than he ever thought imaginable.

"Where's My Watch?": Pulp Fiction Analysis Part XIV

Go to Part XIII: "If you had a pot belly, I would punch you in it."

The camera slowly pushes in first on the TV, then on Butch, then back to the TV. This creates a visual connection between the fictional war on TV, itself a representation of the very real war that killed his father, and the impending war Butch will undertake to get back his father's watch.

Now it is the next morning. Butch wakes with a start to the sound of a Vietnam War movie on television. The film is The Losers[i], about a group of Hell’s Angels fighting the Viet Cong. The camera shows the television and pushes in, then shows Butch and pushes in. The film on the television is a bit of foreshadowing for the impending “war” Butch will become engaged in and also for his getaway on a motorcycle. It is no accident that Tarantino’s camera pushes slowly in on the TV. It is honing our attention on violence, war and heroes sacrificing themselves for the good of others. Additionally the slow push on Butch visually ties him to what we see on the television screen.

Next Butch gets out of bed and starts getting dressed. As he begins looking through the suitcase the camera slowly pushes in again, creating another moment of tension. It’s a particularly uneasy feeling as Fabienne talks sweetly about what she’s going to eat for breakfast until finally Butch cuts her off asking, “Where’s my watch?” We already know the significance of the watch, so we sense what trouble there might be if it is missing. The sweet-talking Butch quickly and violently turns into a raging lunatic, screaming obscenities, throwing the TV across the room.

Go to Part XV: "That's how you're gonna beat 'em, Butch. They keep underestimatin' ya."

---

[i] Dir. Jack Starrett, 1970 (Fanfare Films, Inc.)